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The first Paddington movie in 2014 is already such a beloved classic that it's hard to believe that this sequel actually tops it. Writer-director Paul King and his cast are back with their whimsical approach, combining silly comedy with surreally deranged touches that bring these people to life in ways that are both hilarious and deeply endearing. And this time, the plot feels more developed and the humour even funnier.

We catch up with Paddington (voiced by Ben Whishaw) as he's now a fixture in his Notting Hill neighbourhood. With his Aunt Lucy's 100th birthday approaching, he wants to give her the hand-made pop-up book of London landmarks he discovers in Gruber's (Jim Broadbent) second-hand shop and starts working odd jobs to save up to buy it. What he doesn't know is that a neighbour, washed-up actor Phoenix (Hugh Grant), knows that the book is a map to a hidden treasure. When Phoenix steals it and frames him, Paddington's adoptive family (Hugh Bonneville, Sally Hawkins, Madeleine Harris, Samuel Joslin and Julie Walters) launch a plan to clear his name.

It's been five years since the last Harry Potter movie, and J.K. Rowling has been busy. Not only has she shepherded her two-part sequel play to the West End, but she has also written the screenplay for this spin-off prequel, which is set some 70 years before Harry was born. The American setting puts a fresh slant on her elaborately imagined wizarding world, and the film has enough lively humour to keep things entertaining, but the movie itself is thin and derivative, never quite engaging the audience with its magic.

In this alternate reality, 1926 America has forbidden all magical creatures out of fear of terrorist attacks taking place around the world. Then an expert in these beasts, the cheeky nerd Newt Scamander (Eddie Redmayne) arrives in New York with a suitcase full of them. He's on some sort of mission, which is immediately interrupted by three escaped critters, drawing in hapless wannabe baker Jacob (Dan Fogler) and witch detective Tina (Katherine Waterston). Joined by Tina's breathy sister Queenie (Alison Sudol), this rag-tag team is trying to recapture Newt's escaped creatures when they run afoul of aggressive wizard enforcer Graves (Colin Farrell), who's working for American's magical President (Carmen Ejogo). But there's something more seriously nefarious going on in the city.

Rose Heyman and David Heyman attends the World Premiere of 'Fantastic Beasts and Where To Find Them', held at Alice Tully Hall in the Lincoln Center for the Performing Arts, New York City, United States - Friday 11th November 2016

Colin Farrell has been cast as a wizard in ‘Fantastic Beasts and Where to Find Them’.

Colin Farrell has joined the cast of the upcoming Harry Potter spin-off movie, Fantastic Beasts and Where to Find Them. The 39-year-old actor will play a wizard in the upcoming film, due to be released in 2016.

Colin Farrell at a screening of Kahlil Gibran's The Prophet in Los Angeles in July 2015.

A classic British memoir gets the full costume drama treatment with this beautifully crafted World War I drama, although it never quite transcends the "beloved book" tone, remaining so worthy that it only rarely springs to life. The acting is sharp, as is the filmmaking, so it's frustrating that there's so little in the film that resonates with present-day audiences. And as the story sinks into a murky gloom, it's difficult for audiences to stay engaged.

Based on Vera Brittain's iconic memoir, the story opens in 1914, as Vera (Alicia Vikander) begs her parents (Emily Watson and Dominic West) to let her sit entrance exams at Oxford, which simply isn't the done thing for a proper young woman. She also has to convince them to let her brother Edward (Taron Egerton) sign up for military service in response to the conflict breaking out in Europe. But Vera is shocked when her sweetheart Roland (Kit Harington) also decides to enlist along with two close friends (Colin Morgan and Jonathan Bailey). Suddenly the war seems far too close to home for her. So she's provoked to leave university and volunteer as a nurse, serving in both England and France while the war rages around her.

The film's opening section contains a beautiful spark of hopefulness as these young people face the possibilities ahead of them, revelling in their education and then deciding to do their duty for their country. The rising-star cast packs the characters with cheeky humour, high energy and, yes, suitably repressed Britishness. But of course the realities of WWI change everything. Vikander handles this mood-swing very nicely, conveying Vera's resilience as she is bombarded with intense emotions. Her chemistry with Harington is strong, packed with passion. And the surrounding cast is terrific, even if most of the roles are relatively slight. The stand-outs are Richardson as a prickly Oxford professor and Atwell as a feisty fellow nurse.

It's difficult not to go into a movie like this with a sense of dread, as the beloved children's book becomes a live-action movie with a digitally animated, eerily realistic-looking bear. Thankfully, the task of filmmaking was given to the inventive Paul King (of Mighty Boosh fame), who made the charmingly surreal 2009 comedy Bunny and the Bull and brings a refreshingly unexpected comical sensibility to liven up this film's family-friendly formula.

It starts in darkest Peru, where a young bear (voiced by Ben Whishaw) has been raised by his aunt and uncle (Imelda Staunton and Michael Gambon), who learned about London from a British explorer. Now in need of a new home, the youngster heads across the sea and takes the name of Paddington Station when he meets the Brown family: over-cautious dad (Hugh Bonneville), over-curious mum (Sally Hawkins), sulking teen Judy (Madeleine Harris), inventive pre-teen Jonathan (Samuel Joslin) and feisty relative Mrs Bird (Julie Walters). As they help him find the explorer, he has a series of adventures, unaware that the taxidermist Millicent (Nicole Kidman) is on his trail, determined to add him to the species on exhibition at the Natural History Museum.

This Cruella De Vil-style subplot would be seriously annoying if King ever let it take over the movie, but it always remains secondary to Paddington's mayhem-causing behaviour and his bonding with the Browns. It also provides some genuine tension in a climactic action sequence in the museum. But most of the film is dedicated to Paddington's comically ridiculous antics, and Whishaw voices him with just the right mixture of curiosity and hapless mischief to make him irresistible.

It wasn't all about the onscreen stars at the 2014 National Board Of Review Awards Gala in New York; a few highly respected directors and producers also showed their faces at the event including 'Gravity' producer David Heyman and 'Her' director Spike Jonze.

It’s easy to see how games like Bioshock and Deus Ex end up in the news for possible film adaptions, but it’s more difficult to imagine Temple Run – a game that literally involves running and turning – translating successfully from the realm of handheld gaming to the silver screen.

A Temple Run film could be on the way...

But it looks like we won’t need to imagine it, as the popular iPhone/Android game is set to follow Angry Birds into the movie business. In many ways, it’s not really going to be a Temple Run film, per-say, rather an Indiana Jones-style adventure film using the Temple Run franchise to give it a boost from fans of the franchise.

More like a 91-minute thrill-ride than an astronaut adventure movie, this tour de force throws us out into space without a safety line then thrills us with a series of near misses that take our breath away. Along the way, Sandra Bullock gets to deliver one of her best-ever performances while filmmaker Alfonso Cuaron wows us with his seamless technical wizardry. So even if the plot feels naggingly implausible, we hang on for dear life.

It begins during a Space Shuttle mission to repair the Hubble Telescope with the cheeky team leader Kowalski (Clooney) and nervous rookie Dr Stone (Bullock). Then after the Russians destroy a distant satellite, the field of debris gathers momentum and knocks out communications before sweeping Kowalski and Stone away from the shuttle and the rest of the crew. Tethered together, they decide to make their way to the International Space Station for help. But they only have 90 minutes before they intersect with the debris storm again. And both power and oxygen are running out.

Earth looks so beautiful floating just below them that we are continually taken aback by the fact that this is essentially a horror movie set in the silent weightlessness of space. Every sequence is carefully staged to ratchet up the suspense, which sometimes begins to feel a little overwrought as it continually comes down to another last-gasp moment. But Bullock plays this especially well, letting us identify with her panic and tenacity. By contrast, Clooney is sarcastic and comical, cheering her up with ridiculous anecdotes as he tries to spark her survival instinct.

In Mark Herman's adaptation of John Boyne's controversial children's bestseller offering a kid's-eye view of Holocaust, the young eight-year-old Bruno (Asa Butterfield) has the wide, blue-eyed innocence of the unprotected. Sheltered and half in a fantasy world, he runs through city streets with his friends, his arms outstretched like wings, gliding untouched through the busy and congested world of adults. Herman bathes these opening scenes in a fantastic fairy-tale burnish, like a golden world ready to be lost.

Bruno shares a family dinner with his loving parents (Vera Farmiga and David Thewlis) and his older sister Gretel (Amber Beattie). With their sparkling British Masterpiece Theatre accents, the family appears as well-scrubbed paragons of British banality. (Even Richard Johnson, that great bastion of British nobility from the epics of the 1960s, is exhumed to appear as the family's Grandpa.) So it comes as a shock when Thewlis dons a German commandant's uniform for a going-away party and Herman quietly reveals that the Dad has been reassigned, taking the family with him. As Dad remarks, "Home is where the family is." In this case, however, home is Auschwitz and Dad is the new camp commandant, who will be supervising the mass exterminations.

It's gotten to the point where the quality of the films don't really matter: Now I feel like I'm committed to the whole Harry Potter series. I've reviewed the first five now, so by golly, I'm going to stick it out and finish the lot... even though I still can't bring myself to read any of the books. As always, consider yourself warned that I don't know the intricate backstory developed over thousands of pages in J.K. Rowling's writing. And really, I'm happy to keep it that way.

Harry Potter and the Order of the Phoenix continues in the tradition of following another year at the Hogwarts School of Wizardry, where Harry Potter (Daniel Radcliffe) has faced nothing but grueling struggle after grueling struggle. His most recent year (Goblet of Fire) saw a friend get killed by his nemesis, the evil Lord Voldemort (Ralph Fiennes), who's gaining more power every day and giving Harry severe nightmares. With few exceptions, his friends have largely abandoned him, and the new term comes with even more headaches in the form of Dolores Umbridge (the perfect Imelda Staunton), sent from the Ministry of Magic to teach the defense from the dark arts class and eventually taking over the school as an iron-fisted, fun-crushing bureaucrat.

After much pottering about (ha ha!), the film finally finds its groove as Umbridge goes too far, refusing to teach magic in the classroom, instead preferring to rely on theoretical knowledge so the students can pass their year-end standardized tests. With Voldemort approaching (this guy is always just around the corner), Harry becomes more nervous that he will be unable to defend himself, finally recruiting a handful of students to his cause to teach them what he knows about magical combat. Together they prepare for the day when they know they'll have to use those skills. (In case you haven't seen any of the first four movies, rest assured it isn't far off: This end-of-movie showdown between Harry and the forces of evil has almost become a cliché that pans out every single time.)